- Description
-
- Creator(s)
- James Moore (1762-1799) and Thomas Girtin (1775-1802)
- Title
-
- The Ruined Gatehouse, Pevensey Castle
- Date
- (?) 1793
- Medium and Support
- Graphite on wove paper
- Dimensions
- 22.5 × 16.6 cm, 8 ⅞ × 6 ½ in
- Object Type
- Collaborations; Outline Drawing
- Subject Terms
- Castle Ruins; Sussex View
-
- Collection
-
- Ashmolean Museum, University of Oxford
- (WA1916.20.27)
- Versions
-
The Ruined Gatehouse, Pevensey Castle, from the East
(TG0266)
- Catalogue Number
- TG0266a
- Description Source(s)
- Viewed in 2016
Provenance
James Moore (1762–99); his widow, Mary Moore (née Howett) (d.1835); bequeathed to Anne Miller (1802–90); bequeathed to Edward Mansel Miller (1829–1912); bequeathed to Helen Louisa Miller (1842–1915); bought and presented anonymously to the Museum, 1916
Bibliography
Brown, 1982, p.472, no.1415 as 'Pevensey Castle' by James Moore
Place depicted
Other entries in First Steps as a Professional Artist:
James Moore and British Antiquities
An Ancient House, Possibly in Sussex
Newport Museum and Art Gallery
An Interior View of the Ruined East End of Tynemouth Priory Church
Yale Center for British Art, New Haven
Jedburgh Abbey, from the East
Private Collection
Craigmillar Castle, near Edinburgh
Ashmolean Museum, University of Oxford
The West Front of Exeter Cathedral, and St Mary Major
The Mellon Bank Collection, Pittsburgh
Stonehenge during a Thunderstorm
Ashmolean Museum, University of Oxford
The East End of Tynemouth Priory Church
Private Collection
Kidwelly Castle
Rhode Island School of Design Museum, Providence
Ludlow Castle: The Gatehouse
Private Collection
Dumbarton Rock and the Castle, from the North West
Yale Center for British Art, New Haven
Jedburgh Abbey, from the East
Yale Center for British Art, New Haven
Interior of the Albion Mills, Southwark, after the Fire
Private Collection
Kinloss Abbey: The Abbot's House
National Gallery of Scotland, Edinburgh
Conwy Castle, Looking West
Ashmolean Museum, University of Oxford
Duff House, from the South
Ashmolean Museum, University of Oxford
An Unidentified Round Tower
The Huntington Library, Art Museum and Botanical Gardens, San Marino
Glasgow Cathedral, from the North East
Yale Center for British Art, New Haven
Part of the Ruins of Alton Castle
Ashmolean Museum, University of Oxford
The West Front of Valle Crucis Abbey Church
Private Collection
The Albion Mills, Southwark, after the Fire
Newport Museum and Art Gallery
Bamburgh Castle, from the East
Ashmolean Museum, University of Oxford
The Ruins of the East End of St Andrews Cathedral
Birmingham Museums & Art Gallery
Warkworth Castle, from the River Coquet
Touchstones Rochdale
Colchester Castle
Ashmolean Museum, University of Oxford
The Great Keep, Kenilworth Castle
Yale Center for British Art, New Haven
The Castle Rock, Edinburgh
Fitzwilliam Museum, University of Cambridge
London: The Demolition of the Old Porch of the Guildhall
London Metropolitan Archives
The Gatehouse, Denbigh Castle
Yale Center for British Art, New Haven
Kirkstall Abbey, from the South East
Private Collection
Buildwas Abbey
Rhode Island School of Design Museum, Providence
The West Front of Brechin Cathedral, with the Round Tower
Private Collection
The Great Gate, St Augustine’s Abbey, Canterbury
Philadelphia Museum of Art
Conwy Castle: The Bakehouse Tower
Private Collection
Lindisfarne Priory Church, Looking West from the Choir
Tate, London
Kirkstall Abbey, from the North West
Yale Center for British Art, New Haven
The Tithe Barn at Abbotsbury, with St Catherine's Chapel on the Hill
Yale Center for British Art, New Haven
Kirkstall Abbey, from the South East
Ashmolean Museum, University of Oxford
Dunstaffnage Castle
Ashmolean Museum, University of Oxford
Spynie Palace, near Elgin
Ashmolean Museum, University of Oxford
Dunnottar Castle in a Thunderstorm
Ashmolean Museum, University of Oxford
Part of the Ruins of Croxden Abbey, from the East
Ashmolean Museum, University of Oxford
The Great Keep, Kenilworth Castle, with Leicester's Gatehouse in the Distance
Yale Center for British Art, New Haven
Battle Church, from the South East
Ashmolean Museum, University of Oxford
The East End of Valle Crucis Abbey Church
Indianapolis Museum of Art at Newfields
The Gatehouse, Denbigh Castle
Private Collection
The Ruins of Lewes Castle, from the West
Private Collection
Ewell Church, with a Funeral Procession Approaching
Queensland Art Gallery, Brisbane
Rustic Figures in a Landscape, with Pigs
Metropolitan Museum of Art, New York
St Peter's Church, Bexhill, from the East
Private Collection
Warkworth Castle, from the River Coquet
Ashmolean Museum, University of Oxford
A Cow Grazing near a Pond, with a Church Tower Beyond
Private Collection
Duff House, from the River
Ashmolean Museum, University of Oxford
A Landscape with a Shepherd and Flock
The Huntington Library, Art Museum and Botanical Gardens, San Marino
Melrose Abbey, from the South West
Private Collection
A Cottage, Said to Be near Battle in Sussex
Private Collection
Ely Cathedral, from the South East
Ashmolean Museum, University of Oxford
The East End of Valle Crucis Abbey Church
Private Collection
The East End of Valle Crucis Abbey Church
Private Collection
Lindisfarne Priory Church, Looking West from the Choir
Private Collection, Scotland
Pegwell Bay, near Ramsgate
Yale Center for British Art, New Haven
Pevensey Castle: The North Tower with the Gatehouse in the Distance
Yale Center for British Art, New Haven
The Spire of Salisbury Cathedral, from Chorister's Green
Private Collection
The Landgate, Rye
Yale Center for British Art, New Haven
The Landgate, Rye
Ashmolean Museum, University of Oxford
The Gatehouse, Saltwood Castle
Yale Center for British Art, New Haven
The Gatehouse, Saltwood Castle
Ashmolean Museum, University of Oxford
The Strand Gate, Winchelsea
Yale Center for British Art, New Haven
The West Tower, All Saints' Church, Hastings
Ashmolean Museum, University of Oxford
Rochester Castle, from the South
Ashmolean Museum, University of Oxford
The West Front of Byland Abbey
Birmingham Museums & Art Gallery
All Saints' Church, Hastings, from the North East
Ashmolean Museum, University of Oxford
An Ancient House, Possibly in Sussex
Ashmolean Museum, University of Oxford
Kenilworth Castle: The View from the South
Private Collection
Kenilworth Castle: Seen from the South East
Private Collection
Tolleshunt D’Arcy Church
Private Collection
St Peter's Church, Bexhill, from the South East
Ashmolean Museum, University of Oxford
The Ruined Gatehouse, Saltwood Castle, Seen from the North
Ashmolean Museum, University of Oxford
Saltwood Castle: The Gatehouse
Private Collection
The Ruined Gatehouse, Pevensey Castle, from the East
Ashmolean Museum, University of Oxford
The Ruined Gatehouse, Pevensey Castle
Ashmolean Museum, University of Oxford
The Gatehouse, Battle Abbey
Clark Art Institute, Williamstown
Carlisle Cathedral, from the South West
Yale Center for British Art, New Haven
The Gatehouse, Battle Abbey
Private Collection
St Mary the Virgin, Eastbourne
Ashmolean Museum, University of Oxford
An Unidentified Landscape with a Figure Seated on a Gate under a Tree
Private Collection
The West Front of Crowland Abbey
Ashmolean Museum, University of Oxford
The West Front of Crowland Abbey
Ashmolean Museum, University of Oxford
Pevensey Castle: View of the North and East Towers
Private Collection
The Ruins of the Great Hall, Kenilworth Castle
Ashmolean Museum, University of Oxford
All Saints' Church, Hastings, from the North West
Ashmolean Museum, University of Oxford
The Refectory, St Martin’s Priory, Dover
Philadelphia Museum of Art
Saltwood Castle: The Gatehouse from a Farmyard
Ashmolean Museum, University of Oxford
Spynie Palace: A Coastal View
Yale Center for British Art, New Haven
St Clement's Church, with Hastings in the Distance
Ashmolean Museum, University of Oxford
The East End of the Church of St Thomas, Winchelsea
Private Collection
The East End of the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford
The West Tower, St Clement's Church, Hastings; Studies of a Horse in Harness and Numerous Architectural Details
Ashmolean Museum, University of Oxford
Undercliff, near Hastings
Ashmolean Museum, University of Oxford
The Ypres Tower, Rye
Ashmolean Museum, University of Oxford
An Unidentified Village with a Half-Timbered House
Ashmolean Museum, University of Oxford
Hastings: The View across the Beach to Castle Hill
Hastings Museum and Art Gallery
Hastings Castle and Priory Bridge
Hastings Museum and Art Gallery
Tolleshunt D’Arcy Church
National Gallery of Scotland, Edinburgh
Battle Abbey Gatehouse, from the South West
Ashmolean Museum, University of Oxford
St Clement’s Church, Sandwich, from the North
Ashmolean Museum, University of Oxford
St Peter's Church, Bexhill: The West Tower
Ashmolean Museum, University of Oxford
Glasgow Cathedral, from the South West
Bolton Museum and Art Gallery
The East End of Icklesham Church
Ashmolean Museum, University of Oxford
The Refectory, St Martin’s Priory, Dover
The Huntington Library, Art Museum and Botanical Gardens, San Marino
The Gatehouse of Beckingham Hall, Tolleshunt Major
Yale Center for British Art, New Haven
Glamis Castle (Macbeth's Castle)
Private Collection, Norfolk
One of the Alard Monuments in the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford
One of the Alard Monuments in the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford
Pegwell Bay, near Ramsgate
Harvard Art Museums / Fogg Museum, Loan from George and Patti White
A Thatched Barn with Farm Animals
Private Collection
A Timber-Frame House with a Hill Beyond
Tate, London
A Farmyard with Pigs Drinking at a Pond
The Huntington Library, Art Museum and Botanical Gardens, San Marino
A Barn with a Figure, Cattle and Poultry
Courtauld Gallery, London
Malmesbury: The Market Cross
Athelstan Museum, Malmesbury
An Unidentified Country Church and Churchyard
Private Collection, Norfolk
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About this Work
This pencil drawing of the ruined gatehouse of Pevensey Castle in Sussex was made by Girtin’s first significant patron, the antiquarian and amateur artist James Moore (1762–99), and probably dates from the third and final tour he undertook to record the county’s medieval castles and churches. It is contained in an album assembled from fifty-three drawings that were acquired by the Ashmolean Museum, Oxford, from Moore’s descendants after 1912. They were catalogued by David Brown as being by Moore himself, but Brown added a note to a sketch of St Clement’s Church, Hastings (TG0308), suggesting that Girtin may also have ‘taken a hand’ in the drawing (Brown, 1982, p.471). I think it is possible to go a step further and propose that, given up to half of the drawings in the album are significantly stronger than Moore’s generally unconvincing sketches (see source image TG0114), the professional artist had a ‘hand’ in many more of his patron’s outlines. In this case, such is the contrast in quality, that it is clear the drawing has been corrected and enhanced by a superior artist working over Moore’s sketch with a sharper and more richly toned piece of graphite. The drawing is typical of the way in which Moore’s tentative outlines have been firmed up, his faulty perspective corrected and an exuberant level of decorative detail added. The manner in which the artist varies the pressure applied to the graphite to introduce subtle variations in tone, even within the same line, is characteristic of Girtin’s fine draughtsmanship, and it was surely he who elaborated Moore’s on-the-spot drawing back in London on his patron’s return.
Girtin almost certainly did not visit Pevensey himself and, not surprisingly, he had difficulty in understanding Moore’s drawing. Whilst he was able to correct some details, other areas remain confusing and unresolved. The representation of the broad entranceway to the castle was particularly problematic, as can be seen from a contemporary photograph (see TG0266 figure 1). This was partly blocked up at the time, but Moore’s faulty perspective has resulted in the confused mass of stones appearing concave in form, and the entrance bears no credible relationship with the round tower to the left. Perhaps it was for this reason that Girtin abandoned his watercolour version of Moore’s composition and left it incomplete (TG0266).
(?) 1795
The West Tower, St Clement’s Church, Hastings; Studies of a Horse in Harness and Numerous Architectural Details
TG0308
1792 - 1793
The Albion Mills, Southwark, after the Fire
TG0114
1793 - 1794
The Ruined Gatehouse, Pevensey Castle, from the East
TG0266
1793 - 1794
The Ruined Gatehouse, Pevensey Castle, from the East
TG0266